By Colorado Review Associate Editor Michelle LaCrosse Next week, I’ll put a shushing note on my door, on the off-chance my roommate comes home early from her nursing job, and then lock myself in my bedroom with my notes and a copy of my master’s thesis to “attend” my defense—remotely. I’ll examine the tiny, digital faces […]
By Colorado Review Associate Editor Evan Senie At four o’clock in the morning I finally left my bed, worried that my tossing and turning was keeping my girlfriend up. I took a blanket and my computer, went downstairs, and sat on the couch. I opened my laptop and pulled up the tab I’ve had open […]
Editorial assistant Lucia Sabo recently reached out to Colorado Review contributor Jehanne Dubrow. Here is the interview that followed. Lucia Sabo: Your essay “Portrait on Metal with Patterned Scarf and Streak of Light” was featured in the fall 2019 issue of CR. It is clear from the essay that your writing has been informed by […]
By Colorado Review Editorial Assistant Hannah Barnhart Writers are hardly ever just writers; we are almost always something else, too. We are parents, teachers, students, editors, servers, bartenders. We are artists, but we might also be athletes, musicians, travelers, fanatics, aficionados. Whatever other occupation or hobby you might have as a writer, your life lends itself to […]
By Colorado Review Editorial Assistant Luke Eldredge One of the most common pieces of advice given to writers is to write every day. This advice is so common that it has largely been accepted as a given: To become a writer and to produce a work of writing, one must write every day. On the […]
By Colorado Review Editorial Assistant Elena Brousard-Norcross As a reader at Colorado Review, I often encounter work that I pass on to the editors with the hope that I will see it again—in print. “Ripped,” by Ashley Wurzbacher, from the Spring 2019 issue, is definitely one of those stories. When I first read it, I […]
By Colorado Review Associate Editor Daniel Schonning For most of us, the pitfalls associated with writing a modern love poem are nearly too many to count. On one side: the saccharine, the sentimental, the end-rhymed and metrical. On the other: the woe-filled; the creepy; the self-obsessed, erotic magnum opus. Somewhere between exists the razor’s edge […]
Obsession, we’re told, is unhealthy at worst, embarrassing at best. To write about one’s obsessions, to air them publicly, is particularly tacky—or so we seem to believe.
As the writer holding power, women might offer alternative representations of women within the actual content or use their power to communicate their powerlessness.
In poetry, the ideas that exceed us are like yeast in dough—gritty bits that irritate, germinate, and give the product its full flesh.